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| Albanian Video. Enjoy Watching!
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| KOSOVA LIBERATION ARMY (KLA) |
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KOSOVA LIBERATION ARMY (KLA)
In 1998, briefly after the end of the war in Bosnia, when it became clear to many Albanians in Kosovo that the international community was not prepared to intervene on their behalf, first reports emerged from Kosovo describing a shady "Kosovo Liberation Army." They carried out attacks against Serbian police and more importantly against Albanian "collaborators." At this stage there were suspicions that this movement might have been the brainchild of Serbian authorities to discredit the so-far peaceful movement of the Kosovar Albanians. It turned out that the movement was indigenous, representing only a small group of Albanians of the province. Much changed since March 1998. The brutal reaction of the Serbian police and paramilitaries to the uprising of the UÇK in the Drenica reason in central Kosovo gave the movement rising support.
Increasingly, the Kosovo Liberation Army was transformed into a popular guerilla movement. The heavy handed tactics of the Yugoslav forces, targeting the UÇK through the population, created the base of support necessary for the movement to become a political factor impossible to ignore. While this happened, the Western Countries stood by silently, the protestes remained muffled, giving the Yugoslav president Slobodan Miloševic the impression that he can pursue this policy undisturbed. Only after a summer of pushing back the UÇK from its hasty territorial gains, the international community began to take interest in the events in Kosovo. The agreement between American special envoy Richard Holbrooke and the Yugoslav president reached in October 1998 was the result of belated foreign interest. The delay gave the Kosovo Liberation Army the power to sideline Ibrahim Rugova, the unofficially elected president of the Albanians of the province. It also created a state of crisis in the country need by Slobodan Miloševic to stabilize his power and suppress the opposition. The war in Kosovo coincided with the most suppressive laws yet against the media and the universities, the main sources of opposition in the country.
The agreement on Kosovo not only forsaw a cease-fire and a withdrawal of Yugoslav troops from the province, but also the creation of a 2,000 strong OSCE mission to verify the cease-fire. After 5 months still only 1,400 observers had been sent to the region. Instead of creating a strong, well-stocked mission, the Verification mission could not fulfill its goal. Instead of seeking to resolve the crisis, which was waiting to break out again, it took a predictable massacre in Raçak to move international negotiator to propose a peace plan. Instead of making the future of Kosovo open to direct and substantial negotiations, the Contact group presented a plan, which was many ways inadequate, offered only conjunction with the stationing of NATO troops in Kosovo, hardly an acceptable offer for the Yugoslav government. Not only did it offer an excuse for the Yugoslav government to opt out of the negotiations, it also offered no face saving measures, which could have been sold to the Serbian audience. By March, after having threatened air strikes for three times, NATO brought itself in the situation were it could no longer fail to follow up on its threat without loosing all credibility. The bombings were, however, not flanked by humanitarian support to refugees resulting from the escalation of the conflict.
The air strikes of NATO have eliminated differences between opposition and the government. No organization or party in Serbia can afford to welcome the air strikes. The already weak opposition is today in no position to offer an alternative to Miloševic, largely due to the absence of adequate support from the West. The support for independent media and an alternative civil network would have cost no more than a few Cruise Missiles, not to mention the human price and the physical damage the bombs are inflicting on Yugoslavia.
The overwhelming responsibility for the crimes committed in Kosovo and all the ensuing events lies with the Yugoslav leadership, that is Slobodan Miloševic, and many Serbian intellectuals which for a long time have demonstrated open racist and aggressive nationalist attitudes towards the Albanian population. The Western countries, however, which had the means to prevent the killing, once again failed to act at the right time and with appropriate policies.
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posted by Drobeshi @ 7:29 PM |
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thnx dude
Rhythm and Blues - Rhythm and blues is a name for black popular music tradition. When speaking strictly of "rhythm 'n' blues",
the term may refer to black pop-music from 1940s to 1960s that was not jazz nor blues but something more lightweight. The term "R&B"
often refers to any contemporary black pop music. Early-1950s R&B music became popular with both black and white audiences, and
popular records were often covered by white artists, leading to the development of rock and roll.A notable subgenre of
rhythm 'n' blues was doo-wop, which put emphasis on polyphonic singing. In the early 1960s rhythm 'n' blues took influences from
gospel and rock and roll and thus soul music was born. In the late 1960s, funk music started to evolve out of soul; by the 1970s
funk had become its own subgenre that stressed complex, "funky" rhythm patterns and monotonistic compositions based on a riff or two.
In the early to mid 1970s, hip hop music (also known as "rap") grew out of funk and reggae. Funk and soul music evolved into
contemporary R&B (no longer an acronym) in the 1980s, which cross-pollinated with hip-hop for the rest of the 20th century and
into the 21st century.
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Albanian Music
Albania is a Southeast European nation that was ruled by Enver Hoxha's communist government for much of the later part of the
20th century; it is now a democratic country. Even before Hoxha's reign began, Albania was long controlled by the Ottoman
Empire and other conquering powers, leading to a diversity of influences that is common in the much-fragmented Balkan region
and resulting in a diverse and unique musical sound. Albanians (and the ethnic-Albanian Kosovars of nearby Serbia) are commonly
divided into three groupings: the northern Ghegs and southern Labs and Tosks. Turkish influence is strongest around the capital
city, Tirana, while Shkodër has been long considered the center for musical development in Albania.
Music has always been a potent means of national expression for Albanians. Under Hoxha's regime, this was channeled into
songs of patriotic devotion to the party; since the arrival of democracy in 1991, lyrics have come to focus on long-suppressed
traditions like kurbet (seeking work outside of Albania) and support for various political parties, candidates and ideas[1].
Pop musicians have developed too, long banned under the socialists, with Ardit Gjebrea being foremost among them. Albanian
popular music (këngë popullore) is generally based on Italian models
Folk music was encouraged to some degree under the socialist government, which promoted a quinquennial music festival at
Gjirokastër provided that the musicians expressed frequent support for the party leaders. After the fall of socialism,
Albanian Radio-Television launched a 1995 festival in Berat that has helped to continue musical traditions
MUSIC GENRE
A music genre is a category (or genre) of pieces of music that share a certain style or
"basic musical language".
Music can also be categorised by non-musical criteria such as geographical origin.
POPULAR MUSIC GENRE
Blues - The Blues is a vocal and instrumental music form which emerged in the
African-American community of
the United States. Blues evolved from West African spirituals, work songs, field hollers, shouts and chants and has
its earliest stylistic roots in West Africa. This musical form has been a major influence on later American and Western
popular music, finding expression in ragtime, jazz, big bands, rhythm and blues, rock and roll and country music, as well
as conventional pop songs and even modern classical music. Due to its powerful influence that spawned other major musical
genres originating from America, blues can be regarded as the root of pop as well as American music.
NOTES
Blues - The Blues is a vocal and instrumental music form which emerged in the African-American community of
the United States. Blues evolved from West African spirituals, work songs, field hollers, shouts and chants and has
its earliest stylistic roots in West Africa. This musical form has been a major influence on later American and Western
popular music, finding expression in ragtime, jazz, big bands, rhythm and blues, rock and roll and country music, as well
as conventional pop songs and even modern classical music. Due to its powerful influence that spawned other major musical
genres originating from America, blues can be regarded as the root of pop as well as American music.
Hip Hop/Rap - Hip hop music (also referred to as rap or rap music) is a style of popular music. It is made up of two
main components: rapping (MCing) and DJing (audio mixing and scratching). Along with breakdancing and graffiti (tagging)
these are the four elements of hip hop, a cultural movement that was initiated by inner-city youth (mostly minorities such
as African Americans and Latinos) in New York City in the early 1970s. Typically, hip hop music consists of one or more rappers
who tell semi-autobiographic tales, often relating to a fictionalized counterpart, in an intensely rhythmic lyrical form making
abundant use of techniques like assonance, alliteration, and rhyme. The rapper is accompanied by an instrumental track, usually
referred to as a "beat", performed by a DJ, created by a producer, or one or more instrumentalists. This beat is often created
using a sample of the percussion break of another song, usually a funk, rock, or soul recording. In addition to the beat other
sounds are often sampled, synthesized, or performed. Sometimes a track can be instrumental, as a showcase of the skills of the
DJ or producer.
Rhythm and Blues - Rhythm and blues is a name for black popular music tradition. When speaking strictly of "rhythm 'n' blues",
the term may refer to black pop-music from 1940s to 1960s that was not jazz nor blues but something more lightweight. The term "R&B"
often refers to any contemporary black pop music. Early-1950s R&B music became popular with both black and white audiences, and
popular records were often covered by white artists, leading to the development of rock and roll.A notable subgenre of
rhythm 'n' blues was doo-wop, which put emphasis on polyphonic singing. In the early 1960s rhythm 'n' blues took influences from
gospel and rock and roll and thus soul music was born. In the late 1960s, funk music started to evolve out of soul; by the 1970s
funk had become its own subgenre that stressed complex, "funky" rhythm patterns and monotonistic compositions based on a riff or two.
In the early to mid 1970s, hip hop music (also known as "rap") grew out of funk and reggae. Funk and soul music evolved into
contemporary R&B (no longer an acronym) in the 1980s, which cross-pollinated with hip-hop for the rest of the 20th century and
into the 21st century.
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thnx dude
Rhythm and Blues - Rhythm and blues is a name for black popular music tradition. When speaking strictly of "rhythm 'n' blues", the term may refer to black pop-music from 1940s to 1960s that was not jazz nor blues but something more lightweight. The term "R&B" often refers to any contemporary black pop music. Early-1950s R&B music became popular with both black and white audiences, and popular records were often covered by white artists, leading to the development of rock and roll.A notable subgenre of rhythm 'n' blues was doo-wop, which put emphasis on polyphonic singing. In the early 1960s rhythm 'n' blues took influences from gospel and rock and roll and thus soul music was born. In the late 1960s, funk music started to evolve out of soul; by the 1970s funk had become its own subgenre that stressed complex, "funky" rhythm patterns and monotonistic compositions based on a riff or two. In the early to mid 1970s, hip hop music (also known as "rap") grew out of funk and reggae. Funk and soul music evolved into contemporary R&B (no longer an acronym) in the 1980s, which cross-pollinated with hip-hop for the rest of the 20th century and into the 21st century.